Thorvaldsdottir CATAMORPHOSIS

$QQD 7KRUYDOGVGÍWWLU CATAMORPHOSIS

Full Score

Anna Thorvaldsdottir

CATAMORPHOSIS for orchestra (2020)

Chester Music

Commissioned by Stiftung Berliner Philharmoniker, co-commissioned by the New York Philharmonic, the Iceland Symphony Orchestra and the City of Birmingham Symphony Orchestra. First performed by Berliner Philharmoniker on 27 January 2021 at the Berlin Philharmonie, conducted by Kirill Petrenko.

Duration: c. 20 minutes

Instrumentation 2 Flutes Alto Flute 2 Oboes Cor Anglais 2 Clarinets in Bb Bass Clarinet in Bb 2 Bassoons Contrabassoon 4 Horns in F 2 Trombones Bass Trombone Tuba Bass Tuba Percussion (4 players): 1:

Large Tam-tam Large Bass Drum 2 Large Singing Bowls (see note below)

2:

1 Cymbal Large Bossed Gong (lowest C) Large Bass Drum

3:

1 Cymbal Large Bossed Gong (lowest Db) Large Bass Drum

4:

Large Tam-tam Large Bass Drum 2 Large Singing Bowls (see note below)

Harp Grand Piano Strings: Suggested division: Violin I i: 2 desks; Violin I ii: 3 desks; Violin I iii: 3 desks Violin II i: 2 desks; Violin II ii: 3 desks; Violin II iii: 3 desks Viola I: 3 desks; Viola II: 3 desks Violoncello I: 3 desks; Violoncello II: 3 desks Double Bass I: 2 desks; Double Bass II: 2 desks

The score is in C. Bass Clarinet is written at pitch. Double Basses require lower C extension.

Orchestral parts are available on hire from the publisher.

Performance Notes * My music is written as an ecosystem of materials that are carried from one performer – or group of performers – to the next throughout the process of the work. As you play a phrase, harmony, texture or a lyrical line it is being delivered to you, passed on from another performer – performers – for you to carry on until it is delivered to another. All materials continuously grow in and out of each other, growing and transforming throughout the process. * When you see a long sustained pitch, think of it as a flower that you need to carry in your hands and walk the distance on a thin rope without dropping it or falling. It is a way of measuring time and noticing the tiny changes that happen as you walk further along the same thin rope. Absolute tranquility with the necessary amount of concentration needed to perform the task. * I have a tendency to write music in rather low dynamics. The lower levels of dynamics (in the p area) indicate my wish for an approach to pitches and sound materials with a sense of ease and carefulness rather than merely indicating an audio level.

I do not intend for harmonies – written in the p range – to be too quiet but rather projecting a sense of serenity, but with determination, and with full presence and depth of the pitches. This piece – CATAMORPHOSIS – is somewhat driven by intensity and urgency which is in turn polarised by gentle stillness and calmness. At certain moments the piece orbits louder dynamics that at other points are echoed by sections in lower dynamics and coloured by ethereal and textural dimensions of sound

structures. I would kindly ask that harmonies in lower dynamics be ever so slightly overemphasised, as appropriate in the progression of the music, so that the pitches and harmonies are always carried with a strong sense of depth and projection, even in the dynamic level of p, while adhering to the calmness of the atmosphere when applicable. * The piece is in one movement with atmospheric sub-sections listed in the score for inspiration.

At times there are further atmospheric indications in the score, such as “with calm”. *

Notation General All glissandos should be played throughout the duration of the note value it is written by. For example, w , slow glissando that starts at the beginning of the note and glissandos throughout the four beats of the note value. Similar with , faster glissando (depending on the destination of the following pitch). i h

A small notehead above the stave indicates the note’s duration (applied to quarter notes and half notes).

B I μ ˜

Quarter tone flat Quarter tone flat below b Quarter tone sharp Quarter tone sharp above #

Accidentals apply to one measure at a time and are on occasion reapplied within a measure for convenience.

Three tremolo lines refer to playing quick tremolo notes rather than rhythmic 32nd notes. When playing on tremolo (or flutter tongue) there should not be an accent on the beats where the pitches change or between measures – the tremolo should be even throughout the passages as they move between pitches and measures.

Woodwind When notes are slurred throughout an extended period of time and during long phrases without rest, breathe where necessary – not synchronised between performers.

When indicated to glissando between tones, bend the pitch as indicated.

Diamond note head on the centre line of the staff indicates an air sound with no pitches sounding.

When indicated to “perform on air with no pitch – with subtle ‘s’ sound formation for a subtly distorted sound on air” this should produce a subtle ‘white noise’ sound. In these textures, as always, breathe where necessary – not synchronized.

When not solely sustained on centre line of the staff (no pitch), played on air with slight pitch colours to the air sound – the airy quality should be more prominent than the pitches.

Dynamics on airy notes are relative to the sound of the effect, so they should be aimed at projecting relative to the nuance of the sound rather than in the same dynamic as a pitch with the same dynamics would. It is asked that the ethereal airy textural effects should not be overemphasised or overdramatised – the airy sounds are intended to be a textural dimension to the overall sound texture – that at times gets overshadowed by other textures – rather than to be an overly prominent feature.

Tremolo lines indicate flutter tongue.

Indications such as “solistically” apply to the passage they are written above.

Flutes Key clicks and tongue ram, for percussive effect. The upper note head (x) indicates the key click, the lower note is the sounding pitch/color effect. Abbreviated k.cl.t.r. mm. 216-218 – and onward when the same phrases appear – either play on whistle tones or on somewhat airy pitches, co-ordinate the same technique between the three performers.

Bass Clarinet Key clicks and slap tongue, for percussive effect. The upper note head (x) indicates the key click, the lower note indicates the low percussive slap effect. Abbreviated k.cl.sl.t.

Oboes, Cor Anglais and Bassoons Double tongue on airy textures with slight pitch colours coming through.

Abbreviated d.t. on air.

Brass When notes are slurred throughout an extended period of time and during long phrases without rest, breathe where necessary – not synchronised between performers.

Diamond note heads indicate air sounds with no pitch sounding – airy note heads are placed on the centre line of the staff, but should not produce any pitch.

When indicated to “perform on air with no pitch – with subtle ‘s’ sound formation for a subtly distorted sound on air” this should produce a subtle ‘white noise’ sound. Brass performers might prefer to remove the mouthpiece and perform this effect straight into the instrument where possible – explore for the best way to perform the sound for a subtle white noise and synchronize in technique between performers. In these textures, as always, breathe where necessary - not synchronized.

Tongue flicks on air, written in rhythmic patterns – (as a controlled flutter).

Dynamics on airy notes are relative to the sound of the effect, so they should be aimed at projecting relative to the nuance of the sound rather than in the same dynamic as a pitch with the same dynamics would. It is asked that the ethereal airy textural effects should not be overemphasised or overdramatised – the airy sounds are intended to be a textural dimension to the overall sound texture – that at times gets overshadowed by other textures – rather than to be an overly prominent feature.

Percussion All Bass Drums need to be placed horizontally in order to be able to place objects on the skin.

Allow resonance of instruments to continue and do not stop or dampen unless otherwise indicated.

Percussion I Upper staff: Tam-tam Bass drum

Lower staff: Singing bowl I Singing bowl II

For the lower staff: select a couple of large resonating singing bowls (or gongs) that have a deep warm resonance that is not sharp. The aura of the sound should ideally be relatively deep and somewhat resemble the sound of an old warm-sounding Tibetan meditation singing bowl. If there is a pitch to the resonance then aim for C for Singing bowl I (upper line) and G for Singing bowl II (lower line). It is fine (and perhaps even ideal) if the instruments are somewhat out of tune (with a quarter tone aura to the sound). Select these singing bowls (or gongs) together with Percussionist IV, who also has similar instruments on lower staff, to synchronise the aura of the sounds.

Percussion II Cymbal Bossed Gong (lowest C) Bass drum

Percussion III Cymbal Bossed Gong (lowest Db) Bass drum

Percussion IV Upper staff: Tam-tam Bass drum

Lower staff: Singing bowl I Singing bowl II

For the lower staff: select a couple of large resonating singing bowls (or gongs) that have a deep warm resonance that is not sharp. The aura of the sound should ideally be relatively deep and somewhat resemble the sound of an old warm-sounding Tibetan meditation singing bowl. If there is a pitch to the resonance then aim for Db for Singing bowl I (upper line) and Gb for Singing bowl II (lower line). It is fine (and perhaps even ideal) if the instruments are somewhat out of tune (with a quarter tone aura to the sound). Select these singing bowls (or gongs) together with Percussionist I, who also has similar instruments on lower staff, to synchronise the aura of the sounds.

Tools 2 small metal chains, to place on skin of bass drum and over tam-tam and gongs for subtle distortion sounds (once each) Thick-haired wire or copper scrubbing-brush (one each)

^ Large soft bass drum mallet (two each) • Wire brush (one each) ® Superball (one each) § Drum sticks (two each) – Double Bass Bow (one each)

Techniques Thick-haired wire scrubbing-brush – when indicated, use brush to sustain over skin of bass drum or surface of tam-tam or gong. It is desired for the sound to be sustained (by the stroke of the brush against the surface/skin) without an initial attack.

This should result in a distorted sound.

Sustain with hands in circular strokes on skin of bass drum as indicated, simultaneously with both hands in continuous strokes for an airy ‘breathing’ effect. When indicated with “occasionally with fingernails”, on occasion draw fingernails over skin for a slight change to the sound.

When “circular strokes with hands on skin” is indicated while chain is placed on the drum, inconspicuously and organically move between moving hand over skin around the chain and on occasion sliding the chain over the skin.

Sustained back and forth tremolo strokes on tam tam for sustained distorted sound. This effect is also performed with wire scrubbing brushes as indicated.

When written with regular mallets, refers to playing rolls (rather than rhythmic 32nd notes).

Perform with wire scrubbing brush in short small tremolo strokes (rather than rhythmic 32nd notes).

In these gestures, starting in m. 97, hand sustains on skin in one stroke over the quarter note tied into the eighth note – the triplet on the second beat is in sustained back and forth strokes with wire scrubbing brush.

Special noteheads Sustain over the surface of the instrument, with superball mallet or wire scrubbing brush as indicated, in slow strokes of various shapes in a somewhat meditative manner of playing.

Erratic and sporadic short arrhythmic attacks and subtle strokes on various places on the surface and sides of tam-tam or gong as indicated – avoid too play to frequently or in any regular patterns, almost as if on one’s own path separated from the others.

Harp Quicker motives in the harp part are written on one line of the staff and at times between the two staffs for the performer themselves to decide the distribution between the hands.

Dynamics for circular strokes over strings: when playing in circular strokes over strings with hands or paper, lower dynamics also indicate slower strokes and louder dynamics faster strokes – e.g pp: slow – f: fast Tools 2 pieces of paper, such as wax paper, for sustaining in strokes over strings 2 guitar picks Special notehead Played on low steel string of the instrument – mute string with fingers of one hand and pick in a very short upwards movement with guitar pick on the surface of the string. This should result in a crackling sound. Perform in an erratic and sporadic short arrhythmic attacks on the string – avoid playing too frequently or in regular patterns, almost as if on one’s own path separated from the others.

Grand Piano Staff Types There are two staff systems for the piano: Upper staff lines ‘Inside Piano’ – material written on the upper staff lines should be performed on the inside of the instrument.

Lower staff lines ‘Piano keyboard’ – to be performed on the keyboard.

Tools 1 guitar pick A bundle of either doublebass bow hairs or thin finishing lines to bow strings inside the piano. The bundle should be thread between the following pitches inside the piano, it should be possible to keep the bundle in place on the strings throughout the performance:

Special notehead Played on an indicated string(s) as shown in a bracket. Mute string(s) with fingers of one hand and pick with guitar pick (or finger nail) on the surface of the string(s) in short upwards movements on the surface of the string(s). This should result in a crackling sound. Perform in erratic and sporadic short arrhythmic attacks on the strings – avoid playing too frequently or in regular patterns, almost as if on one’s own path separated from the others.

Boxed noteheads indicate ranges.

Dynamics for circular strokes over strings: when playing in circular strokes over strings with hands or paper, lower dynamics also indicate slower strokes and louder dynamics faster strokes – e.g pp: slow – f: fast Strings Bow Strokes When notes are slurred through an extended period of time – change bow where necessary. During long sustained notes please change bow as often as necessary, not synchronised, it is not intended for bow strokes to be too slow but rather of the required speed each time for the tone to be fully carried with depth and fundament.

Vibrato In lyrical and “expressive” passages please apply vibrato.

When “non vibrato” is indicated it applies to the passage it is written above.

During glissandos and harmonics please play senza vibrato.

In passages where no indications are written for vibrato or senza vibrato, collectively apply vibrato as desired.

Techniques (example from the violin part, quarter note and eighth note shown): For airy effect – place left hand/fingers (not only one finger) lightly to cover the indicated string, around the given pitch area, not on harmonic. Fingers are not to be placed on exact pitches. This produces an unpitched airy sound. The upper notehead indicates the airy technique, the small notehead below indicates the open string where the technique is to be played.

When these noteheads are indicated with ord., it refers to playing normally on the written effect and merely serves to take back indication of otherwise performing such as with sul pont., much bow pressure etc. When performing on air with ordinary bow pressure it should result in an airy sound. (example from the cello part, half note and quarter note): The same noteheads. When the airy notehead is written with a glissando, slide the hand down the string as indicated. This will produce slight harmonic colours in the airy sound as hand glissandos over the string(s) but the aim is for the sound to be as pitchless as possible.

Dynamics on airy notes are relative to the sound of the effect, so they should be aimed at projecting relative to the nuance of the sound rather than in the same dynamic as a pitch with the same dynamics would.

Much bow pressure performed on muted string, not on a pitch (as indicated by the notehead). When written on a short note value (sixteenth note) this should produce a non-pitched percussive attack to the muted string. The short notes on much bow pressure work best when performed close to the frog.

When indicated to play with much bow pressure on a longer sustained note – apply a bit more (than ordinary) bow pressure to the string for a subtle atmospheric sustained distortion sound through continued movement of the bow.

Not so much bow pressure that the flow of the bow is disturbed or that the sound becomes too aggressive or too scratchy, but rather subtly distorted sustained sounds, similar to white noise.

When indicated to perform airy noteheads in arpeggio patterns between strings “with subtle airy pitch colours” keep fingers/hand on strings and articulate “on air” – subtle pitch colours will naturally appear through the airy sound.

There are two versions of accelerando on airy textures: Bow strokes back and forth as indicated in an accelerating motion.

Hitting the string with bow hairs and having the bow bounce on the string in an accelerating motion.

Very slow wide vibrato without losing the focus of the pitch and sound.

Abbreviations l.b.pr. m.b.pr. ord.b.pr b.str. str. sust. s.p. c.l. w ord.

light bow pressure (flautando), resulting in a light, airy and transparent sound. much bow pressure ordinary bow pressure bow stroke stroke sustained sul ponticello col legno with ordinary, takes back all special effects previously applied, including (but not limited to) sul pont.

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